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LOS ANGELES (AP) ? California has reached the breaking point, says Tim Draper.
The Silicon Valley venture capitalist is pushing a proposal to crack the nation"s most populous state into smaller pieces ? six of them.
California has grown so big, so inefficient, it"s essentially ungovernable, according to a ballot initiative that could reach voters as early as November.
It has to go, he says. ??Vast parts of our state are poorly served by a representative government,"" according to Draper"s plan, which cleared a key government hurdle this week, part of the process to qualify for the ballot.
California residents ??would be better served by six smaller state governments.""
In an interview Thursday, Draper said he has seen a state once regarded as a model slide into decline ? many public schools are troubled, transportation, water and other infrastructure systems are overmatched and outdated, spending on prisons has soared.
A group of states could change that, he said, competing and cooperating with each other.
Without change ??it will get worse,"" he warned. ??California is not working."" No one would dispute that California, home to 38 million people, is full of rivalries and squabbling.
Dodgers or Giants. Tacos or sushi. Where water goes, and how much of it.
But the state has proven reliably resilient against attempts to split it apart, dating to the era of its founding in 1850.
Over the years, proposals have suggested California should be two states, or three, or four.
??It"s certainly fun to talk about,"" said Raphael Sonenshein, executive director of the Pat Brown Institute of Public Affairs at California State University, Los Angeles. But ??its prospects are nil.""
Even if it were to be approved by voters, Congress would have to endorse the idea of creating six new states ? and adding 10 senators to the chamber"s political mix (as with all states, California currently has two).
Congress, under the U.S. Constitution, must approve the creation or division of any states.
??I don"t think anyone is going to give California 12 Senate seats,"" Sonenshein said.
Draper, in documents he submitted to the Secretary of State"s Office, recommends dividing California regionally, including establishing a state called Silicon Valley, which would include San Francisco and nearby counties that are home to technology giants like Facebook and Apple.
Los Angeles would become part of the new state of West California, which also would include the coastal cities of Santa Barbara and Ventura.
The state"s farming heartland would become Central California. San Diego would be the largest city in the new South California.
Earlier this week, he received approval from the state to begin collecting petition signatures to qualify the proposal for the ballot ? he needs about 808,000 by mid-July to make the cut.
It"s also possible the proposal could be delayed until 2016.
Facing a tight deadline to gather signatures and build political momentum, ??I want to make sure there is enough time,"" Draper said.
The complexities of dividing a state the size of California, by itself among the world"s top 10 economies, would be daunting.
What would become of the California State Water Project, which uses aqueducts and pumping stations to disperse water across the state?
If the federal government approves the idea, tax collections and spending by the state would end, and its assets and debts would have to be divided.
Draper said the smaller governments would be more responsive to the needs of residents and communities, compared to Sacramento.
There would be vigorous competition for residents among them, he predicted, again driving change.
Campaign veteran Matt David doubted the proposal would get far. ??California is as diverse geographically as it demographically, but ultimately we all take pride in the fact that we are Californians,"" said David, a Republican consultant based in Los Angeles. ??Diluting that identity between six states will never happen.""


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Bourdais helps Pagenaud, who makes first front-row start
Sebastien Bourdais helped bring Simon Pagenaud into the Champ Car World Series.
On Saturday, Pagenaud showed why.
Bourdais sits on the pole for Sunday's Cleveland Grand Prix at Burke Lakefront Airport after turning a fastest lap of 56.363 seconds. He will line up opposite Pagenaud, who makes his first front-row start after clocking just 0.02 seconds behind his fellow Frenchman.
"If I try to help Simon, it's because I think he deserved it," said Bourdais, the Champ Car points leader and three-time series champion who is seeking his fourth straight win. "He's proving he belongs to Champ Car as good as anybody else."
Pagenaud's Team Australia teammate Will Power will start third with Graham Rahal fourth and Robert Doornbos fifth. Pagenaud, Rahal and Doornbos are all rookies.
"These are talented guys. They are rookies but not beginners to racing," Bourdais said.
Pagenaud, 23, earned nine top-five finishes last year in taking the Atlantic title. He raced in Europe before that, finishing as the 2004 Formula Renault runner-up.
He said the jump to Champ Car has been a learning experience.
"We were struggling a little bit in the morning. I went back to the truck and worked quite hard with my engineer," Pagenaud said. "I'm very happy because we had a very good discussion, very good communication together. We went back on the track this afternoon, and the car was just perfect."
Bourdais was less than a tenth of a second off the course record but never got a final attempt as the last five minutes of qualifying were wiped out because of a crash and a red flag.
"In the first run, we got some traffic. It wasn't really the best run we could hope for," said Bourdais, who clocked 134.478 mph.
Bourdais also started on the pole when he won in Cleveland in 2003. He repeated in 2004 but has not won here since. He is trying to become the first person to win four-straight Champ Car series titles.
Bourdais will have a clear lane in front of him for today's 17-car start. Last year, he started third but never made it out of the first few turns as he, Paul Tracy and Bruno Junqueira collided, knocking Bourdais from the race.
Going from a standing start for just the second time, none of the drivers know how the opening seconds will come into play. Six of the last seven years, Lap 1 has resulted in a wreck at Cleveland.
"If you get too much wheel spin or you're on the dusty side of the circuit, you don't get a good start," Power said. "Usually, the wheels spin up, other people grip, and off they go. There are a lot of variables to a standing start."
Power said the key to winning at Cleveland is taking advantage of other people's mistakes. He went back over the tape from 2006 and found the mistakes made by every driver in the field.
"I think we are in a pretty good position, because, as you've seen in past years, there's a lot of mayhem," said Power, who spun out on lap 75 in 2006 before finishing ninth. "I think it's going to be pretty mixed up (today). I think it will be a lot of fun for the fans."
You can reach Canton Repository Assistant Sports Editor Joe Frollo Jr. at (330) 580-8564 or e-mail: firstname.lastname@example.com

subset: commoncrawl


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Public Tour: Prints Highlights
Explore the Museum with a docent skilled in bringing art to life.
Public tours depart from the Park Avenue entrance.
Tours are free for members or with Museum admission, and free for children age 17 and younger.
The Portland Art Museum is pleased to offer accommodations to ensure that our programs are accessible and inclusive. All spaces for this program are accessible by wheelchair. Assistive listening devices are also available for lectures. All restrooms have accessible stalls but no power doors. There are single-stall all-gender bathrooms available. Please ask staff for directions.
We will do our best to accommodate your needs when you arrive, however, we need 2-3 weeks advance notice for some specific requests. Please email requests to email@example.com, or call 503-226-2811.


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New Zealand music labels have begun pitching the first "strikes" in their country's "three strikes" regime targeting Internet file-swappers. The New Zealand Herald reports that four major ISPs there have received infringement notices that have been passed along to subscribers after the new rule went into effect on September 1.
The scheme involves three warnings of infringement, warnings which are generated by copyright holders and which carry no legal penalty. After three of the warnings, however, copyright holders can haul Internet subscribers before a Copyright Tribunal and seek fines.
One peculiarity of New Zealand's system: it applies to the Internet account holder rather than the person actually accused of sharing the content online. It's certainly one way of solving the perennial doubt over who, exactly, was sitting behind an IP address. As the Herald notes, people are likely to be surprised:
Given that Rihanna and Lady Gaga have a strong teenage fan base, parents responsible for home internet accounts may be in for a shock. This is because the account owner is the one liable under the new law for any offending over an internet connection, regardless of whether they downloaded the content or not.
The idea for this system failed in 2009 after opposition, but was pushed through with some changes in 2011 under "urgency" rules. Internet traffic has been lower ever since.


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Fits: BMW 5 Series E39 1997 1998 1999 2000 2001 2002 2003
Our Custom Floor Mats are 100% Precision Laser Cut to every vehicles exact interior configurations. Our Original Floor Mats are Light Weight, made of Flexible Automotive Carpet and feature an Anti-Skid Silicone Backing as well as Velcro for the mats that do not offer floor clips for Original Fitment.
The VIP Luxury Colored Diamond Floor Mats feature our COBRA COLLECTION logo embroidered on Special Custom PVC Leather specifically made for automobiles Interior and Exterior use. This unique material is Water Resistant and made to handle all Season Elements.


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Industrial Manufacturing Emergency Response Services - CLP
To declare any dangerous substances and properly promote eco-friendly contents, SGS environmental product safety services can advise you on EU classification, labeling and packaging (CLP) regulation. Call us today to find out more.
Compliance with EU CLP regulation means you will be communicating the right information about potentially dangerous chemicals as well as environmentally friendly ingredients in your products. With an ever more complex regulatory climate for environmental claims and packaging, we are serious about helping you with this important issue to ensure that your products meet all relevant requirements.
With many years of experience, we have proven expertise in human and environmental safety and in classifying substances in the correct categories. We have worked in the design of chemical safety data sheets (SDS) and are the leading experts on the classification and labeling for the registration, evaluation, authorization and restriction of chemical substances (REACH) regulation. Any changes to SDS under REACH and CLP are monitored so we can help you to comply with any new challenges.
Our flexible, modular package can be tailored to suit your needs, including the following services:
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Dangerous substances must be declared by use of the appropriate labeling. We will check that your current labeling is accurate and that your packaging is suitable to the regulatory requirements.
We know you are as serious about environmental protection as we are. Call our experienced team today.


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It is not nearly as hot here in the Pacific Northwest as it is where my family is (Chicago & Minnesota). You guys have certainly had the heat wave. We are still wearing our October gear in the mornings. However, yesterday it was 85F. (I know, still not hot comparatively, but come on… that's a 20 degree jump for us!)
We took full advantage of the day: playground in the morning, walk after lunch, bubbles/sidewalk chalk, building a fort, soccer outside, etc. By the time dinner-cooking-hour rolled around, I was hot. And so was the house. We don't have air conditioning and the warmest time of day here is late afternoon.
At 3:30PM, the house was almost 80F. The thought of heating up the house further to cook (as the temperature was still rising) was NOT appealing to me at all. I had planned to make a tamale pie with whatever veggies + ground beef that were in the fridge. I knew this meant browning the beef, sauteing veggies and what not on the stove top and then finishing in the oven. Oh. NO. Wasn't happening.
So I cracked out the cast iron skillet and headed outside to the grill. Beyond making the tamale dough topping, the rest of this was prepared on the grill. I honestly didn't plan to give a "recipe" today. I totally winged this – but I think some of you might find the idea functional for you HOT house as well.
Forgive the lack of perfect measurements, I didn't measure anything – so they are all guesstimates.
Nice, huh? What a food blogger am I.
Oh well. Here goes nothing!
You can see my fancy topping here – precooked. Lovely, huh?
Tamale Pie on the Grill
NOTE: Make sure you have enough gas (if using a gas grill) to have your burners on for 30-40 minutes on medium-high (or enough to maintain an internal temperature of 350F +)
TAMALE TOPPING (Prepare inside with you mixer)
1 1/ cups masa harina, rehydrated according to package instructions
1/3 cup of butter, cut into pats
1/2 cup chicken broth (or water + gluten free chicken bouillon) or MORE
2 teaspoons baking powder
1/2 teaspoon salt
granulated garlic to taste (1/2-1 1/2 teaspoons)
Put your rehydrated masa dough into the mixer. Add the chicken broth, baking powder, salt, some granulated garlic and half of your butter pats. Mix thoroughly on low. Increase speed to medium after broth has been well incorporated. Add the remaining pats of butter until well incorporated. Beat on medium. The dough texture should be coming up the sides of your mixer and not dense on the bottom or in a ball. It is not super light – but should be very pliable. If not, add a bit more broth – tablespoon by tablespoon – until your get rid of the ball stage. Set aside.
TAMALE PIE – Meat + veggie bottom
1 pound ground meat of choice (I used beef)
1/2 cup minced onion
4 carrots, peeled and diced
1/2 red bell pepper, diced
1/2 green bell pepper, diced
2 teaspoons minced garlic
1 small can green chilis
2 whole tomatoes, diced
2/3 cup (or more??) frozen corn kernels (or fresh, if you've got them!)
1 Tablespoon + cumin
2 teaspoons ancho chili powder
salt/pepper to season to taste
Directions: (written for those cooking on a gas grill)
- Put your cast iron skillet on your preheated grill. Heat thoroughly. Add a tablespoon of olive oil.
- Dump in diced hard veggies (onions, carrots). Cook for 2-3 minutes. Add diced peppers and tomato. Cook again another 3-4 minutes. Add garlic – cook until aromatic (1 – 2 minutes)
- Add ground meat. Brown.
- Taste. Add green chilis, frozen corn, cumin, chili powder and salt/pepper.
- Bring to a simmer. Taste again. Adjust seasoning to desired. (NOTE: If it is mild now, it will be SUPER mild later – so really taste/adjust now.)
- Once you've reached your flavor, top with the reserved tamale dough. (I used my fingers to make a flat piece (much like working with play-dough) about 1/3-1/2 inch thick. Cover the pan to the best of your ability. I purposefully leave the edges open to allow me to see/check the base and the topping.
- Put your cast iron skillet on the "cool side" but still over some heat. Our grill has 4 burners. I turned the right two burners to high and the far left one to the off position. The second one I had on medium.
ONE (off) TWO (medium) THREE (high) FOUR (high)
Position pan over burner #2
8."Bake" with your grill closed until the tamale pie topping is cooked through (about 30 minutes or more, depending on the temperature of your grill/outside). You can check the dough by poking it (I know… but hey – I was only cooking for me). If the center is dry/cakey/tamale like, you are good. If there are any wet/doughy parts, keep it on the grill longer.
Serve with: cucumber, avocado, shredded lettuce, sour cream, salsa, shredded cheese, fresh diced tomatoes, black olives, whatever….
ONE (off) TWO (medium) THREE (high) FOUR (high)
Position pan over burner #2


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May Trucking Company
May Trucking Company
Apply or Call NOW to find out about our LARGEST PAY INCREASE IN OUR HISTORY!
OTR - CDL A Truck Drivers are the backbone of May Trucking Company which is why we are having our largest pay increase in our 75 year history. We never forget that our success as an organization depends upon your success, and we work hard to ensure that our Company Drivers' needs are met. At May Trucking Company you are a person not just a number. Respect and understanding is key to all our interactions. Major Pay Increase for All OTR and Reefer OTR Drivers
Why May Trucking Company?
-Largest PAY increase in our HISTORY!
- Guaranteed Daily Pay
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May Trucking Company operates a fleet of the latest equipment to ensure maximum comfort and uptime for our OTR Class A CDL Company Truck Drivers. All of our tractors are equipped with communication systems that allow our Company Drivers to stay connected.
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May Trucking Company began in Payette, Idaho in 1945 hauling sacks of cement to construction sites. Today, May Trucking Company operates a fleet of more than 1,000 tractors, providing transportation services for refrigerated and dry products throughout the United States. Our company has operating centers located in Salem (Oregon), Layton (Utah), Payette (Idaho), Denver (Colorado), Gary (Indiana) Pensacola (Florida), Nashville (Tennessee), Gary (Indiana) and Phoenix (Arizona).
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Industrial Manufacturing Waste Water Purification Studies
A waste water treatment study from SGS ensures that waste water is able to be safely disposed of or recycled for reuse in your operations.
To prevent environmental pollution, it is essential to properly treat waste water before it is discharged into the sea, rivers or streams. The purification of waste water can mean safe disposal in compliance with regulations. Also, suitably treated waste water can be recycled and reused for irrigation and other high-quality water purposes. To meet all necessary water regulations in either of these cases, you can rely on our waste water purification services.
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Our accredited, multidisciplinary team of experts will ensure your compliance with all relevant regulations. We also provide technical advice and information at all stages of your project to ensure success. Call our experienced environmental team for your waste water treatment study today.


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Guacamole as you like it
Makes about ¾ cup
We all love guacamole with tortilla chips. But also consider using it as a sandwich spread or as a topping for chicken or fish. This simple recipe is divine as is, but you also can personalize it by using your choice of Add-Ins, which you'll find at the end of the recipe. For easy preparation, here's the best way to open an avocado: Cut it lengthwise around the pit and gently twist the halves to separate them. Remove the pit by striking it with the blade of a sharp knife, then twist to remove. Use a spoon to scoop out the avocado flesh.
1 fully ripened Mexican avocado, halved, pitted, and peeled
1 tablespoon minced onion
1 teaspoon minced jalapeño pepper
¼ teaspoon salt
In a small bowl, mash the avocado with a fork to make a slightly chunky mixture. Stir in the onion, jalapeño, and salt.
Optional Add-Ins:
¼ cup prepared salsa
1 tablespoon each chopped cilantro and fresh lime juice
½ cup chopped and seeded tomato, finely diced radish, or starfruit
¼ teaspoon minced garlic
½ teaspoon ground cumin
Red or green hot pepper sauce to taste


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Samsung has officially stated that it plans to bring the hammer down on Apple's "free riding" on its patented 3G wireless technology. Among its latest moves is a lawsuit seeking to ban Apple's iPhones in The Netherlands, where Apple recently won an injunction barring Samsung from selling its Galaxy S-series devices in the European Union. Because the patents in question are essential to 3G standards, however, Samsung's strategy to sue over these patents may not be as successful as it hopes.
Unnamed Samsung executives were quoted last week claiming that the company planned to intensify its global legal fight with Apple over smartphone- and tablet-related IP. "[A]s long as Apple does not drop mobile telecommunications functions, it would be impossible for it to sell its i-branded products without using our patents," one executive told The Korea Times. "We will stick to a strong stance against Apple during the lingering legal fights."
Those same sentiments were echoed by Samsung senior vice president Lee Younghee in a recent interview with the Associated Press. She characterized Samsung's legal maneuvers against Apple since Apple launched a massive lawsuit against the company's Galaxy-branded devices in April as "passive." Now, however, Samsung "[will] be pursuing our rights for this in a more aggressive way from now on," Lee said.
Part of that new strategy is an aggressive lawsuit against Apple in the Netherlands, which seeks to ban import and sale of Apple's iPhones. Samsung claims that Apple's smartphones infringe on four European patents related to 3G technology. Those patents are "standards essential," part of the 3G wireless standards used by nearly all mobile phones now sold.
Samsung claims Apple (or any mobile phone maker) can't sell a 3G-compatible device without using Samsung's patented technology. However, such patents are typically encumbered by FRAND licensing agreements, wherein standards-setting organizations agree to use patented technologies from companies involved in the standards-setting process in exchange for an agreement that anyone using the standard can license the patents on "fair, reasonable, and non-discriminatory" terms.
Samsung has already aimed similar FRAND-encumbered patents against Apple in the US, UK, France, Australia, Japan, and South Korea. The company even claims to be ready to have Apple's next-generation iPhone 5 banned in Korea for infringing Samsung's wireless technology patents.
Samsung claims that numerous other manufacturers have licensed these patents while Apple has not, but Samsung apparently never made any offer to license the patents to Apple on FRAND or any terms according to legal briefs filed by Apple in US court. Furthermore, Samsung's use of FRAND-encumbered patents against Apple could constitute a violation of antitrust laws both here and in the EU. At least, that's the argument Apple is making. From our conversations with several IP experts, our understanding is that suing over FRAND-encumbered patents is frowned upon by courts in the EU in particular.
Meanwhile, Samsung still must deal with the fact that Apple is its number one customer for flash memory, processors, and other components. As we suggested, Samsung may have decided to become more aggressive after discovering that Apple is looking to move to other manufacturers to fab its custom-designed mobile processors. DigiTimes recently reported that Apple was also looking to secure memory from other suppliers, as well. If Apple is shifting its supply chain away from Samsung, the company may have decided it doesn't have much to lose using FRAND-encumbered patents in retaliation against Apple's recent injunctions.
Listing image by Photograph by Chris Waits


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Roughly six years after its public launch, the original iPhone is about to become obsolete—at least in Apple's eyes. Apple reportedly sent out internal documentation to its support partners, which was then passed on to 9to5Mac, detailing which of its products would no longer be considered current or recent devices as of June 11, 2013. The list doesn't just include the original iPhone, though: it also includes a number of older iMacs, MacBook Pros, Xserves, and PowerBooks.
According to the document, products that are considered obsolete—or perhaps for a more tasteful term, "vintage"—cannot be repaired or receive replacement parts unless they're in the state of California, "as required by statute." Californians can continue to get service and parts for their obsolete items through Apple retail stores, but the rest of us are pretty much out of luck. Apple notes that obsolete or vintage products can't be serviced as mail-in repairs to AppleCare, either.
This is pretty standard procedure for Apple; the other products in the list are about as old as the original iPhone, and some of them are even older (there's a Mac mini on the list from 2005, and don't even get us started on PowerBooks). All we know is that if you're still actively using an original iPhone, you must have an amazing tolerance for outdated software and slow hardware. Good on you, but perhaps it's time to think about an upgrade.
Further reading:


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Studio One
December 6, 2008
Studio One occupies so much real estate in the history of television that it's difficult to know how to even begin to survey it. A dramatic anthology, especially a long-running one, is like the proverbial elephant: every piece of it you lay a hand on is different from any other. Studio One broadcast nearly five hundred shows over ten seasons, from 1948 to 1958, and inevitably it ran the full technological and creative gamut of live television.
That's why Koch Vision's exceptionally well curated Studio One Anthology is so valuable. The seventeen shows in this expensive but essential DVD collection give viewers a far better sense of the achievements and the limitations specific to Studio One than any written account of the series could.
Up to now, many of the Studio Ones that have circulated in private collections and public domain video releases came from what I think of as the show's least interesting period – the early years in which almost every teleplay was an adaptation of a work from some other medium. The emblematic Studio One segment among many TV fans is, I fear, a deadly dull Cliff Notes cut-down of The Taming of the Shrew or Wuthering Heights starring a stiff Charlton Heston (the only member of the show's initial repertory to become a major star).
The Studio One Anthology includes a handful of these early works, which, like the Victorian "tradition of quality" films from the earliest days of cinema, seemed intent on proving that, yes, television could acquit itself respectably with Shakespeare or Hawthorne or Henry James. Heston's Heathcliff is here, alongside an opera ("The Medium"), an Easter "Pontius Pilate" from 1952, and the last of Studio One's three stagings of "Julius Caesar."
But the DVD set focuses primarily on what the so-called Golden Age of television did best: the original, personal dramas by young writers who were looking for ways to introduce contemporary concerns into the new medium. There are two episodes apiece by Rod Serling and Gore Vidal. Reginald Rose, the only important live TV playwright who was chiefly associated with Studio One, is properly represented by a whopping five shows.
A great deal has been written about cultural milestones like Serling's "The Arena" and Rose's Emmy-winning "Twelve Angry Men" (thought lost until a full kinescope was discovered in a private collection in 2003), but until now they have been impossible to see outside of museums. The Studio One Anthology may well be the classic television event of the year.
From the moment it debuted on CBS in 1948, Studio One was awarded the status of an instant classic. The Kraft Television Theater, the first regular hour-long dramatic anthology, had begun a season earlier, but it was not regarded as highly. Delbert Mann, one of the great live TV directors, once rated the most prestigious live anthologies from an insider's point of view:
Of the live shows, Philco and Studio One were considered to be the class acts. When Robert Montgomery [Presents] went on the air, it joined that group. Kraft was not in that group, with the exception of a few shows. The Alcoa Hour and Pulitzer Prize Playhouse did quality shows, but they didn't last long. Playhouse 90 came later. Hallmark was the class of the class, but they were not on a weekly basis.
Studio One's initial producer was Worthington H. "Tony" Miner. Miner, who also wrote and directed many early segments, was a sort of D. W. Griffith figure who expanded the possibilities of a potentially static medium. Miner defined a lot of the basic grammar of live TV. He broke the proscenium arch by utilizing sets with moveable walls that could conceal the cameras, allowing for complex movements and cinematic angles. Miner figured out that cleverly timed voiceovers and costume changes would permit flashbacks and other sleight of hand. He looked for ways to defy the basic spatial limitations of the live drama; famously, in 1950, he turned Studio One's stage into a gigantic water tank for the submarine drama "The Last Cruise." Franklin Schaffner, one of the show's most prolific directors, said that
. . . what made Studio One an attraction was the sense of adventure that Tony Miner brought to that show in terms of challenging the limitations of doing television programs live inside a studio. His insistence on exploring the possibilities for staging in terms of depth made Studio One markedly different from Philco, The U.S. Steel Hour, and Kraft. Everything that I know visually came out of that experience with Tony Miner.
Without disputing the accuracy and importance of any of that, I want to take away some of the credit that historians have conveyed upon Miner and award it instead to his most important successor, Felix Jackson. Jackson took the reigns of Studio One fifteen months after Miner's departure in spring 1952 (due to a contract dispute with CBS, according to Larry James Gianakos' helpful DVD liner notes).
A German screenwriter who fled the Nazis during the thirties, Jackson became a Hollywood producer, chiefly at Universal Pictures, where he made seven Deanna Durbin musicals – and then married his star. Eventually Jackson's Hollywood career, and his union with Durbin, derailed and in the fall of 1953 he began a three-year stint as the producer of Studio One, overseeing what I believe is the anthology's most fertile period.
In the year and a half between Miner's departure and Jackson's arrival, a succession of at least five different producers rotated at the helm; the most important were Donald Davis and his wife Dorothy Mathews, and Fletcher Markle, who had originated the radio version of Studio One in 1947. It was during this fallow period at Studio One that Fred Coe, the producer of the Philco Television Playhouse, achieved the major breakthrough in terms of commissioning original material for live anthologies. Paddy Chayefsky and Horton Foote both wrote their first teleplays for Philco during those seventeen months, and on May 24, 1953, the Philco telecast of "Marty" turned the tide irrevocably toward the "kitchen sink."
Jackson understood this. He and the CBS staffer who became his story editor, a colorful former movie actress named Florence Britton, raided Philco and Kraft for fresh material by star writers like Tad Mosel, Alvin Sapinsley, and A. J. Russell. They groomed young discoveries of their own (among them Frank D. Gilroy and Paul Monash), and promoted some Studio One standbys, including Reginald Rose, from adaptations to originals. Jackson may have been following the trend rather than setting it, but the results were impressive.
Sandy Kenyon in "An Almanac of Liberty"
The biggest question surrounding the Studio One Anthology may be what modern audiences will make of Studio One's behind-the-typewriter star, Reginald Rose. I suspect he might be a hard sell.
Horton Foote and Paddy Chayefsky wrote from the heart; their plays are character-driven and emotional, and as such timeless. Reginald Rose wrote from the head: almost everything was an allegory, an intellectual idea or a political point, fictionalized once over lightly. The pitfalls of stridency and pedagogy loomed, and Rose was not always so nimble as to avoid them.
"In a way, almost everything I wrote in the fifties was about McCarthy," Rose once said. Indeed. The key Rose segments here are his first original, "The Remarkable Incident at Carson Corners," and "An Almanac of Liberty," studies of intolerance similar enough to one another to invite questions of self-plagiarism. They are almost Marxist in their decentralization of authority. Neither has a single protagonist; they divide their focus instead among large ensembles of small-town archetypes. Both utilize the narrative device of the mock trial. "Carson Corners" has schoolchildren and then their parents crucifying a janitor for a boy's fatal fall from a damaged staircase, only to realize that the culpability was collective. "Almanac," ostensibly based on a nonfiction book of the same name by then-supreme court justice William O. Douglas, but in fact an original work synergized for cross-promotion, is a study of scapegoating. Citizens at a town meeting righteously parse the causes of an outsider's savage beating, finally discerning that the ugliness of a few lies within all.
These democracy-in-action impulses came to an apex in "Twelve Angry Men," that oft-remade, multi-media civics lesson that remains Rose's epitaph. At only an hour, and with colorless Robert Cummings rather than magisterial Henry Fonda as the instigator of dissent, the television version plays more as a group dialectic on jurisprudence than as a lone hero's courageous stand against the mob.
It's hard for me to separate my reactions to "Twelve Angry Men"'s Studio One blueprint from my admiration for Sidney Lumet's film of three years later. More often than not big-screen treatment diluted the impact of live TV material (see Marty or The Days of Wine and Roses), but I think Rose's screenplay enriched his original considerably. With an extra half hour, everyone gets a fair share of the spotlight. It's a shock to realize that some of the feature's more vivid jurors – mainly Robert Webber's fatuous ad man ("Throw it on the stoop and see if the cat licks it up!"), a cherished figure of Rosean ridicule – are mere placeholders in the original.
Whatever their flaws, these shows illustrate Rose's conviction that rationalism and communication can affect positive change. That sounds dry, but in each of these three plays there is emotional catharsis when Rose's characters reach common ground at the conclusion. The problem is that Rose seemed unable to move beyond this representational mode. The samples here of his non-allegorical work – that is to say, Rose's more ostensibly character-driven shows – are fairly disastrous.
"Dino," an earnest take on the juvenile delinquency problem with nuanced performances from Sal Mineo and an atypically restrained Ralph Meeker, languishes in self-congratulatory liberalism. "The Death and Life of Larry Benson" builds to a second-act shocker: a quintessential mid-American family anticipates the return of its veteran son, only to be greeted at the train station by a stranger. It's Rose's most intimate early work, and yet his coldest. Pseudo-Larry and his would-be family have no inner lives; they exist only to illustrate a half-baked yin-yang conceit that one man's life is as good as another. Had Rose articulated his idea more clearly, it might have offended someone.
It may be fair to say that Rose did not find his voice until The Defenders, which liberated him from both allegory and interiority. The legal procedural format enabled Rose to retire his mock trials and orchestrate real ones. Here was a venue wherein his characters had to articulate their feelings, or die.
Strip the credits off "An Almanac of Liberty" and you'd guess it was a Rod Serling work, because it deploys The Twilight Zone's raison d'etre of couching social critique within science fiction. "Almanac" incorporates an explicitly paranormal event, an unexplained stoppage of time – wristwatches quit working and people outside the town hall freeze in their tracks – and it's implied that the victimized stranger (Sandy Kenyon) may be an alien, or a Christ figure, sent to test the mettle of the human race. Rose's very first teleplay, "The Bus to Nowhere" (for Out There), was also science fiction, but he doesn't seem terribly engaged by the elements of fantasy in "Almanac"; they're scalpels on his surgeon's tray. Recall that Serling was around and paying attention – he was fond enough of one of Rose's Studio Ones ("The Incredible World of Horace Ford") to have it filmed for The Twilight Zone – and it becomes reasonable to think of "The Monsters Are Due on Maple Street" and "The Eye of the Beholder" as touchdowns scored with a ball that Rose tossed to him.
Though Rod Serling wrote his most important teleplays for other anthologies (mainly Kraft, U. S. Steel, and Playhouse 90), even minor Serling compels attention. The two shows on display here bookend "Patterns," the 1955 Kraft that put Serling on the map, but it's the earlier of the two that is the most successful. "The Strike" is a Korean War drama about an outwardly tough officer who crumbles when he realizes that the only way to save his platoon is to order an airstrike that will wipe out a small patrol of his own men. Major Gaylord is a classic Serling white-knuckle character, a nervous man in a snowy Korean pass, and his utter collapse into self-doubt and then self-pity is mesmerizing.
James Daly, as Gaylord, offers the DVD set's quintessential live TV performance. Acting for live television combined the trickiest elements of theater and film – a performer had to deliver a fully realized characterization in real time, but scaled down for the camera that was often only inches from his or her face. There are many good actors in the casts of these seventeen Studio Ones, but watch Daly: he's one of the few whose performance is as precisely modulated as anything he ever did for a film camera.
"The Strike"'s finale, its Solomonic dilemma a foregone conclusion, is a bit too schematic, and it will seem heavy-handed and academic to anyone who has seen Sam Fuller's unsentimental combat films. Putting the young Serling up against Fuller may be unfair (even though Serling was a combat veteran, too), but the comparison comes naturally in that "The Strike" bears a strong physical resemblance to Fuller's early masterpiece Fixed Bayonets! That film, also a study of wartime cowardice, occupies a similarly claustrophobic setting, a wintry mountain cavern and the ridge immediately outside of it. I can't imagine that someone – Serling, director Franklin Schaffner, or the production designer – didn't recall the Fuller film while putting "The Strike" together.
James Daly and Roy Roberts in "The Strike"
The second Serling episode, "The Arena," takes the U.S. Congress as its setting, but the political trappings are window dressing for an Oedipal drama of a freshman senator (Wendell Corey, too old for the role) finally stepping out of his domineering, monstrous father's shadow. I can't help but think of it as a poor man's predecessor to Gore Vidal's The Best Man, the play and later film (directed by Studio One's Schaffner) that offered a less naive vision of the professional ethics of politicians.
Vidal may be the major discovery of the Studio One Anthology. Vidal was the last of the major TV playwrights to emerge; he turned from a stalled career as a novelist to the live anthologies in 1954, after "Marty," and his work received considerable attention as the trade papers and the mainstream press wondered who would be the next Paddy Chayefsky. As with Serling, Vidal's best-known TV plays – "Visit to a Small Planet" and "The Death of Billy the Kid," later filmed as The Left-Handed Gun – aired elsewhere, but the two Studio One originals on display here offer ample evidence of the then twentysomething Vidal's talent.
"Dark Possession," skillfully evoking a frosty turn-of-the-century setting, begins as a melodrama of emotional repression and, with the entry of handsome doctor-turned-amateur sleuth Leslie Nielsen, morphs nimbly into a sort of medical mystery. "Summer Pavilion," a contemporary story that Vidal writes was "based pretty much on my own life and times," also nails its milieu in a few brush strokes, a changing New Orleans in which Southern aristocrats are being literally bulldozed by progress.
I have to wonder what Vidal, a cousin of Al Gore, meant exactly by that tantalizing remark: is the manipulative matriarch who makes a last futile stand against change, essayed to perfection by fading movie star Miriam Hopkins, a figure from his family history? Or is the touching story of love blooming between Southern belle (radiant Elizabeth Montgomery) and Yankee (wooden Charles Drake) a bit of gender-switched autobiography, a plea for the pursuit of romance in defiance of convention? In any case, though there's no kitchen sink in sight, "Summer Pavilion" is the DVD set's most emblematic example of live television, a delicate flower that would have crumbled had it been projected onto a sixty-foot screen or bellowed from a Broadway stage.
Miriam Hopkins in "Summer Pavilion"
There are other riches here that I hardly have room for: "June Moon," the highlight of the five Miner-produced episodes, a sprightly comedy starring the barely-out-of-diapers Jack Lemmon and Eva Marie Saint; Felix Jackson's battering-down-the-door debut, a sweeping adaptation of "1984" that was the basis for the 1956 film; and "Confessions of a Nervous Man," a twisty, self-reflexive, hilarious bit of self-promotion in which newly lauded playwright George Axelrod (played both by himself and by Art Carney) demonstrates exactly how his smash Broadway hit, The Seven-Year Itch, has ruined his life. Even more than "Twelve Angry Men," this is the DVD collection's prize for cinephiles, because "Confessions" is loaded with the same brand of fast-paced, cartoon-styled humor and cynical, up-to-the-minute media satire that made the extraordinary Frank Tashlin film of Axelrod's next play, Will Success Spoil Rock Hunter?, one of the best American (and one of the most American) movies of the fifties.
It goes without saying that further volumes of Studio One DVDs would be welcome. Curiously, in the liner notes, Larry James Gianakos takes care to list the insignificant interim Studio One producers who came after Worthington Miner, but he omits the men who followed Felix Jackson's departure in 1956. The first of them, Robert Herridge, was a champion of quality television so far ahead of his time that he worked mainly in the dead zone of non-commercial Sunday programming offered to keep the FCC off the networks' back. As a substitute producer during the 1956 summer edition of Studio One, Herridge did some of his best (or at least most mainstream) work.
During the final two seasons, other notable names took a turn at the helm: Gordon Duff, who had succeeded Fred Coe on Philco; Norman Felton, later executive producer of Dr. Kildare and The Man From UNCLE; and Herbert Brodkin. Brodkin, of course, was the man who teamed with Reginald Rose to produce The Defenders, a show that had its origins in one of the most famous Studio Ones, Rose's two-part "The Defender," with William Shatner and Steve McQueen. "The Defender" is available on DVD (although not in the Koch collection), but few of the other Studio Ones from the final two seasons – during which the show reached its technical peak, and moved from New York to CBS's Television City facility in Los Angeles – have been seen since their initial transmission. I suspect there's an unmined vein of the Golden Age there, and I hope Koch has the commitment to tap it.
Endnotes: The Franklin Schaffner quote is from The Days of Live, Ira Skutch, ed. (Scarecrow, 1998), page 50; the Delbert Mann and Reginald Rose quotes are from Jeff Kisseloff's The Box (Penguin, 1995), pages 235 and 238, respectively; the Gore Vidal quote is from a short essay by Vidal in the Studio One Anthology liner notes.
Stay tuned for more Studio One coverage later this month, featuring comments from some of the series' surviving participants.
8 Responses to "Studio One"
December 8, 2008 at 12:40 am
Here are some photos of Deanna Durbin & Felix Jackson together in the 1940s decade:
July 5, 2009 at 4:57 pm
It took a while, but I finally managed to borrow the Studio One set on inter-library loan. Inevitably, the set is missing the extensive liner notes, and my player is rebelling against two of the (slightly damaged) discs, but this collection is just as remarkable and as rewarding as you say. The unique and very funny "Confessions of a Nervous Man" is essential viewing for anyone with an interest in Axelrod. "June Moon" was charming (though given my player's picture/sound problems with the disc, I almost didn't recognize Jack Lemmon!), and Rose's "The Remarkable Incident at Carson Corners" was utterly absorbing. I tend to agree with many of your observations about Rose, but this was a terribly original show; "The Death and Life of Larry Benson" was well acted but much less successful. There is a treasure of wonderful material here. I haven't finished going through it yet, but I wanted to thank you for the recommendation.
June 14, 2010 at 4:10 pm
I just saw this teleplay. I'm overpowered by how good some of these early fifties teleplays are. I actually googled this by placing the names of Reginald Rose and Frank Gilroy together in search. Why did I do that? Because the structure in the Death and Life of Larry Benson is exactly the same as the structure in Jack Gilroy's later the Subject was Roses.
Then there is the Remarkable Incident at Carson Corners. This everyman melodrama is the basis for many Rod Serling Twilight Zones and even a PBS biography of Serling made after he had died. Instead of being particularly about anything, Rose's teleplay is an exploration of American democracy through the prism of the traditional town hall meeting. The teleplay asks fundamental questions: Why are we here? Do we have a right to make decisions about our society in this way? Will our humanity create too many mistakes? Serling would ask those same sorts of questions in his own teleplays. And try to answer them too.
There's nothing quite like this on American TV now, unless you count some of the ironies of the Mad Men of the early sixties in the recent miniseries. You won't find it in the work of Dick Wolf or Norman Lear. Those are the folks that gradually put the fifties ethos of exploring who we are and what we stand for, to death, in the name of larger audiences and more ad revenue.
October 18, 2012 at 2:25 pm
My appetite is whetted, but before I go further, let me ask a question, although I'm already 99% certain of the inevitable answer. Are these shows in the very hard-on-my-eyes kinescope format?


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Kurt Albert: Free Wheel
One morning he and Kurt crossed the Tungabhadra River in the little pitch-covered wicker coracle that served as a ferry and found a beautifully shaped block with a steep wall. As often happens in India, a crowd quickly gathered to watch as Albert tried to muscle his way up, only to drop to the ground.
Kurt Albert was a Bavarian oak, 6'1", 176 pounds, naturally powerful, with thick arms and broad shoulders. At this point in his life, he was well into the second phase of his exceptional climbing career. In the first phase he brought free climbing to West Germany, where he set new standards and developed a new way of climbing. He even gave it a name—redpointing.
When he could no longer keep pace with the revolution he'd helped launch, Kurt reinvented himself as a new kind of free climber on big walls from Pakistan to Patagonia, joining Germany's best climbers to produce climbs like the Yugoslav Route (5.11d) on Nameless Tower and the 44-pitch 5.12c, A2 Royal Flush, on the east pillar of FitzRoy. In the early 1990s, Albert began a series of expeditions employing a new twist on the alpine ideal of "fair means," renouncing motorized support or porters while climbing massive routes like Fitzcarraldo (5.12a) in the Cirque of the Unclimbables, for which he and his partners walked and canoed 1,200 miles to approach and return. By the time he went to Hampi with Jerry Moffatt, the transformation—from honed, calorie-counting sport climber to freewheeling caballero—was complete.
One of the Indian onlookers, a slight figure dressed in flimsy cotton, walked over and looked up at this titan with his shaggy hair and thick moustache, pumped up and breathing hard, like Thor at the end of a workout. The Indian's thin brown hands reached up to Albert's swollen biceps and gave them a firm squeeze. Then he looked into the German's face, and said: "Very big guts."
Last September, Albert, 56, was guiding a group of novices, friends from the same soccer team, on a via ferrata in the Frankenjura region north of his home town of Nuremberg at a place called Hohenglücksteig. It translates as: "the path where you feel glad to be high up." Kurt had driven through the night back from a slideshow in Hamburg and was managing on an hour's sleep. He was standing on a wide ledge, leaned back into his harness, perhaps to rest, perhaps for a clearer view of something, and then was gone. A carabiner was left on the safety wire, and the sling into his harness was empty. He landed headfirst on a boulder.
When the life-support machine was finally switched off, the German media hailed a fallen hero, a man who not only transformed his sport (Albert had been awarded the highest sporting accolade in Germany, the Siberne Lorbeerblatt), but also kept the crowds laughing with his slapstick humor. Despite the warm eulogies, beyond the initial sense of loss and shock, the gap Kurt Albert has left behind still seems vast. It feels like there's more to be said. Behind the stories of wild times and great deeds, there was something else about him, something exemplary.
Sandner handed me a fresh cup of the good stuff while he explained how one of Albert's favorite tricks worked. This one involved appearing to hurl a full cup of coffee at someone while surreptitiously hanging on to it, essentially to scare the bejesus out of the person. Another favorite ruse was secretly slotting a beer-mat under a tablecloth and then propping a glass of beer against it at an angle, giving the impression that he had a preternatural sense of balance.
From time to time, a trick would go wrong and no one laughed harder than Kurt himself. Norbert recalled him losing his grip on a coffee cup and showering someone in cappuccino. Jerry Moffatt was enjoying an après-ski drink with Albert in the late 1980s when he tried the beer trick to impress some girls, and sent a full glass of weissbier everywhere. At his memorial service, as his friends packed away the champagne glasses, Moffatt suggested they smash one because, as everyone agreed, Kurt would have.
Some of Albert's gags were shockingly hardcore, but only at his own risk. He once blew his Achilles tendon tower jumping in what was then Czechoslovakia.
Albert thought about it. He had, after all, trained as a high-school physics teacher. He understood angles, velocity and distance; all the elements critical in sticking a tower jump. And it was doubly important to get it right, because he was doing it on German television. He patiently explained to the camera how he had paid out more slack than necessary, so if he fell, he would swing harmlessly below the undercut wall.
"Nothing can happen," he concluded.
Kurt leaped, missed the hold, and in a moment replete with all the grim humor the gods usually reserve for jackasses, the loop hooked around his ankle and then tightened violently as his weight came on the rope. Kurt's Achilles tendon went pop and he was lowered to the ground. The crew rushed to his side but he held up his hands—"No, it's OK"—and hopped back to his car.
"Typical Kurt," says Moffatt, who a few years later found himself standing on top of the same tower, this time for a British television show, interviewing Kurt about the accident.
"The only way I'm jumping off this tower again is if someone pushes me off," Albert said to the camera, at which point Moffatt slammed him in the chest and sent him over the edge for a 30-footer.
"The whole thing was Kurt's idea," Moffatt says, then, adopting a mock German accent: "Hup! It will be funny."
The stories pile up on each other. Like the time Albert was filmed climbing an overhang built across the roof of an indoor hall. Kurt dropped onto the last, very distant bolt and took a huge but carefully calculated pendulum—straight into the cameraman. The clowning-gone-wrong became part of his shtick during slideshows.
"Even in the Frankenjura," says Sandner, "where everyone had seen his shows, he'd draw an audience of 500 because he was so funny and entertaining. It wasn't like an Alex Huber show that's technically perfect. There'd be mistakes, slides on the floor, that kind of thing. The Huber brothers are pros, and act like it. Kurt would never say he was a professional."
Albert's greatest achievement, then, was to pull off a spellbinding balancing act. He embraced climbing's absurdity, while simultaneously reveling in its grandeur. He was a joker, yet capable of intense effort and concentration, especially with friends who were equally enthusiastic. His 1989 ascent of the Eternal Flame (5.12b, with three points of aid) on Nameless Tower is a good example. With two partners already home in Germany and Wolfgang Güllich injured, Albert took the lead, persevered and advanced the route to the summit.
"In his heart he was a cowboy," says an ex-patriot American climber, Jesse Guthrie, an erstwhile rodeo competitor himself. "He loved the Utah deserts. He loved the big open spaces. No rules, no regulations."
"It was four or five floors," Moffatt recalled. "Kurt pointed to the guttering where his best mate dared him to traverse across. It was about five meters across, from one balcony to the next."
Kurt told Jerry he'd shot across it. Moffatt remarked that the traverse looked terrifying for a climber, let alone a small boy.
"Oh, jumping off the top board at the swimming pool was even more scary," Albert replied.
Jerry was surprised and asked why.
"Because I couldn't swim. I had to jump right next to the edge so I could hang onto the side when I came up."
Then they passed the church his family attended.
"And that's where the priest chased me down the road for mucking around during confession. He shouted at me to never come back."
Instead, Kurt settled on a church of his own choosing, joining the local section of the Deutscher Alpenverein (DAV), the German Alpine Club. His brother, Horst, who is an antiques dealer, climbed too, but as Sandner says, "[Kurt] became so good and so famous so soon that competing was hard. Kurt was so strong, and muscular from a young age."
By the time he was 16, Kurt had done routes like the Walker Spur on the Grandes Jorasses and the North Face of the Eiger.
"He was a real talent," says Sandner. "We were in two different DAV sections and there was a bit of competition. My section thought I was the best, his thought he was the best."
Then they met, and instantly became friends, and Albert moved in. At that time, however, German climbing was off the pace. In the U.S. and Britain, and soon after in France, a campaign was already underway to rid climbs of their points of aid.
In Germany, however, the stubby cliffs of the Frankenjura were still seen as merely training for the big mountains.
"When we met we were both aid climbers," Sandner says. "A bit of free between the pegs, but if it got harder, say, 6b [5.10c], then we'd grab something and try to be fast."
On trips they were doing big alpine rock routes in the Wilder Kaiser or the Wetterstein. On the weekends they'd be hanging from pegs at home. All that changed for Kurt in 1972 when he went to Elbsandstein, then in East Germany. Sandner had been there first, and can still remember the overwhelming impact it had on him.
"It was so foreign for us. It was much more of a shock than going to the States. Everything was so limited. You needed an invitation; you couldn't drive there, only go by train. You couldn't even bring a newspaper. It was like we were coming from the moon."
The climbing, on the other hand, was superb and totally free. Kurt was staggered to discover routes at 5.10 done in the 1920s.
"Before," as he told Rock and Ice in 1993, "all I was doing was aid, and I could do every route. I realized that free climbing was what I wanted to do."
He and Bernd Arnold, the bold free climber responsible for pioneering so many hard routes on the sandstone towers of East Germany's Elbsandstein, became good friends, and he experimented with climbing barefoot.
"Kurt was stronger than Bernd," Sandner says, "but he respected him for the serious climbing in the Elbsandstein."
"We had a spray can," says Sandner, "that you'd use on cars. At the beginning, the old climbers didn't like it. The red dots were pretty big. The last ones he did with nail varnish and a little brush."
Albert's tactic was only to paint the dot once he climbed the route clean in one lead, rather than using the yo-yo tactics then standard in the U.S. and Britain. History is a little murky on whether Kurt was the originator of this style. Something similar was going on in France around the same time. But redpointing has become the gold standard free-climbing ethic the world over, and is the term we all use to describe a clean ascent. The following year, the American climber Henry Barber passed through the Frankenjura while taking up an invitation from Bernd Arnold to visit Elbsandstein. Kurt, Norbert and the little band of free climbers springing up in the Frankenjura were blown away.
"[Henry] was very influential," Sandner recalls. "He only climbed with a swami belt, so we got rid of our chest harnesses and did the same. Then John Bachar came, and he really set the standard here."
Bachar's legendary obsession with training opened a door in Albert's mind, and he began to train more systematically.
"The Germans had a great respect for the American climbing lifestyle," says Jesse Guthrie. "When Bachar came over the first time, those guys were really impressed, even though John was not the typical American climber. But they liked that Camp 4 mentality."
Albert and Sandner visited the Valley for the first time in 1977, and Kurt went to the States so often through the 1980s that he kept a truck at Guthrie's house, which was then in Boulder.
"He was fascinated with John Gill," Guthrie says. "He was often at Fort Collins and around the Front Range, doing Gill problems. He was interested in how early Gill was doing his training programs. Kurt was scientific. He did experiments with training."
By then, Sandner and Albert had rented an apartment in Oberschöllenbach, north of the city. Or, rather, their girlfriends had. Norbert and Kurt went climbing and called home every so often until the place was ready. That apartment on Moselstraße 7, which Albert shared later with Wolfgang Güllich, became one of the most significant addresses in free-climbing history. It was essentially open house for the best sport climbers of the 1980s, people like Ben Moon, Ben Masterson, Ron Fawcett, Chris tian Griffith, Jesse Guthrie, Ron Kauk and John Bachar. There could be 20 people staying at once, even sleeping in the bath. People would steal gear and make phone calls abroad without paying, and Albert and Güllich wouldn't flinch. More important, in an era before the Internet, their place was a hub of ideas and information.
The neighbors would look askance at some of the antics of the ever-changing cast, and once or twice the police were called. Jerry Moffatt even ended up signing posters for one cop whose kid was a fan. It always seemed to work out.
Moffatt, like most who stayed there, still can't get over the generosity.
"If you went to Germany, they'd look after you. They were incredibly hospitable. They'd show you new routes. They wanted you to do things that hadn't been done. And these were three-star classics. They wanted you to have a great trip. If you went to France, the climbers there weren't going to say, 'Look, I've bolted this line, I've tried it a couple of times, it's going to be a classic, why don't you have a go?' No way."
"You never saw him angry or jealous," Sandner says. "But when Wolfgang became famous, Kurt gave up a little. He wasn't as motivated as he had been."
Yet many contemporaries felt that Albert was the more naturally gifted climber.
"Wolfgang wasn't a great onsighter," Sandner says. "On form, I would say Kurt was the better all-around climber, although maybe not as powerful."
Jerry Moffatt agrees: "Wolfgang could be pretty shaky and dragged his feet. Kurt had more finesse. He wasn't so supple as Stefan [Glowacz] is, but he calculated everything. He'd have it all figured out. He wasn't shaky, just strong and accurate with his feet."
If anything, Jesse Guthrie says, Albert himself was most impressed by Moffatt.
"Kurt was awestruck by Jerry. He would say quite calmly that Jerry Moffatt was the best climber in the world. Better than Wolfgang. Mostly because Jerry could do stuff so quick and onsight what nobody else could touch. He had tremendous respect for Jerry."
On his first trip to Germany, having driven overnight crushed in the back of Güllich's Golf, Moffatt went straight out and climbed Albert's masterpiece Sautanz (5.12c), which had been the hardest route in Germany in 1981. The Australian star Kim Carrigan, who had done the fastest ascent so far, in just three days, was also staying at Albert and Güllich's and came along to belay. Despite the lack of sleep and long journey, Moffatt fought his way to the top first go. Then he did the same to John Bachar's newer testpiece Chasin' the Trane (5.12d) and capped that with an onsight repeat of Güllich's Heisse Finger (5.12d). Pretty soon he had added his own Frankenjura super route, at a grade harder—The Face, the first 8a (5.13b) in Germany.
There were two responses to Moffatt's blitz. Head for the gym, or do something else. Albert and Güllich headed for the gym. Sandner was a member at a local fitness center called Campus, and Albert went along to use the pull-up bar he'd installed. Pretty soon the climbers asked to use a quiet, empty corner to build a wooden structure with finger ledges—the very first Campus board.
"I see them everywhere now," Sandner says. "When I think of how it started, I have to laugh."
Moffatt recalls them training but was also amazed at how naturally powerful Albert was.
"He could always do one-arm pullups. Always. And he was a big bloke. He was heavy. Yet he never got injured. Never hurt a tendon. Never did his elbows. He was just this great big Bavarian brick of muscle."
That didn't stop Albert trying to match Moffatt's starvation diet on a visit to Buoux, where they ate just 1,500 calories a day. At times Albert was almost too weak to walk to the base of the crag. His mother, who died shortly before Kurt, would bake him cakes.
"Kurt would sit there and say, 'Maybe I could have a little slice,' and then eat the whole thing," Moffatt says.
Keeping up with that pace of change was always going to be tough and Albert was a little bit older than the new stars emerging. Wolfgang seemed quieter than Kurt, but was much more focused on himself, his career and training. That simply wasn't what Kurt Albert was about.
"Kurt was really smart," says Sandner. "He knew he had to live from his slideshows and contracts and he couldn't compete anymore with the top German climbers. So he decided to bring those free-climbing impulses to the big mountains."
In 1987, with Gerald Sprachmann, Kurt did the first free ascent of the Swiss Route (5.12c) on the Cima Ovest and followed that up with the first free ascent of the famous Brandler-Hasse (5.11d) on the Cima Grande, both in the Italian Dolomites. The next year he journeyed to the Karakorum of Pakistan with Güllich and Hartmut Münchenbach, freeing the Yugoslav Route (5.11d) on the Nameless Tower.
Each year brought another big, remote, difficult, free first ascent. Nameless Tower, Central Tower of Paine, Ulamertorsuaq, FitzRoy, Mount Harrison Smith, Tre Cima di Lavaredo, Tupilak, Aguja Mermoz, Cape Renard Tower, Mount Poi, Acopan. In 2009 Albert climbed the 1,880-foot Hotel Guácharo (5.11d) on Roraima Tepui, Venezuela.
The freedom of those days in Oberschöllenbach could never have lasted, but the end was cruel. Ingrid, Norbert Sandner says, both loved and hated the lifestyle she experienced with Kurt and Wolfgang. A lawyer by day, Ingrid would come home at night to dirtbags from half a dozen countries sleeping on her floor. She moved out and married, but somehow things—life—just didn't work for her anymore. In 1991, her husband, who was a friend of both her former boyfriends, found her in their garage asphyxiated by her car exhaust.
In the summer of 1992, Wolfgang Güllich crashed his BMW driving home from an early radio interview. Like Kurt, his life ended when his respirator was switched off. Like Kurt, there wasn't a mark on his well-trained body. Norbert Sandner was there to see his friend die. He tracked down Albert in Yosemite to give him the news.
"[Kurt] decided not to come home. He thought there was nothing to be done. He said, 'It's all over.'"
Kurt was careless of convention—he would never reply to a dinner invitation, or send a birthday card—but if you needed money, he would toss you his wallet.
"If you were ever in danger, or things were going wrong," Moffatt concludes, "the man you wanted with you was Kurt."
Just before I leave, Norbert Sandner takes a call. Kurt's local friends are organizing a dinner that evening, for one last goodbye. After Sandner hangs up, he says again he still can't believe Kurt has gone.
"He lived the best life I could imagine. He was able to do what he wanted to do. He controlled his life more than anyone I knew. Every day."
Opening image: Gerhard Heidorn
Ed Douglas lives in Sheffield, England, and has been climbing for 30 years. His last book, Rock Athlete, co-written with Ron Fawcett, won the Boardman Tasker Award. A collection of his climbing essays will appear in the fall.


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on 01/17/13
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Today's Music: 38 Special – Hold On Loosely
To get a Class C skydive license, you need a whole bunch of jumps. In New York, because of the vagaries of the weather, it can take a while to amass them.
So far I've done two.
This is the story of the first…
I was going to take a friend of mine for his birthday. Turns out he was over the weight limit, but I still wanted to go, so I signed myself up.
Before the first jump, the diver has to take a class. The class goes over what a correctly opened parachute looks like, how to correct an incorrectly opened chute, and how to land. For the chute opening, we looked at pictures. For how to land, we jumped off a picnic table 20 or 30 times, and rolled into the grass.
All of that training was useless, as you'll see.
Today, the governing body of Parachuting, the USPA, will let accredited training schools only do tandem jumps for their first jump.
A tandem is where the new jumper is strapped to the front of the experienced jumper.
It is much safer, much more controlled, and lots of fun.
But not near as much fun as possible.
When I did it, Static Lines were still allowed for first jumps.
That means that the parachute is strapped to the jumper, and the chute release is strapped to the plane. When the jumper goes out, the line stretches to its full length, then pulls the chute open. The jumper doesn't have to pull the rip cord, but does control the rest of the jump.
Much scarier. Much more fun!
The class (pictures and picnic table) are what you're paying for for the first static line. They throw in the jump for free.
"Oh cool", I can hear you say. No, not so much. Here's why:
Anyone can sit through a class, look at pictures, and then shuffle off a picnic table two dozen times.
Many people get up to 3000 feet, look out the window,and scream to be put on the ground immediately.
No problem. But the jump was free. So no refund.
That didn't happen to me. Nor was I phased by the fact the wind needed to be perfect (15 knots or less) for us to go. Which it wasn't. So, we all sat around for a couple of hours after the class waiting for the wind to come down.
It didn't.
I went back up the next week.
Still didn't.
The next week?
Too windy.
Six weeks this went on. I drove up about 60 miles, the wind didn't come down, I drove home.
Then one day, it was perfect.
Many people say they don't understand why someone would jump out of a perfectly good airplane. This one wasn't.
The pilot was sitting on a milk crate, and he was wearing two parachutes.
The engine, when it started, sounds like I do when I wake up, and I'm a pack a day smoker. Lots of coughing.
2 other brave souls made it out that day too.
The three of us got suited up, strapped on our parachutes, and climbed into the plane.
And up we went.
Here's what happened…
The first guy got into jump position. Out he went. His chute opened.
Then he panicked. And opened his emergency chute. Without releasing his main chute.
So he has his rectangular air foil chute opened over his round emergency chute.
Which means? Anyone?
Exactly. No control.
He landed in a tree.
The plane circles the tree to guide the truck in to recover him. He walked away with some cuts and scratches, not even stitches were needed.
So now it's me and tree-boy's friend. Jumpmaster looks at us.
"Still want to go?"
The other guy looks nervous. His friend just had a serious problem and happened to get lucky. He was concerned. I understand that. He shook his head and declined.
It made perfect sense. I mean, skydiving is inherently
But I'd been driving 120 miles a week to get here, this is the closest I'd been yet, and dammit, I really wanted to go.
"Yeah!" I said.
The Jumpmaster gave me instructions and I followed them.
"Turn around and slide up to the front of the plane"
Sitting on my butt, I pushed myself to the front until my back was against the dashboard. (Where I could see that the pilot's milk crate seat wasn't even bolted down!)
Jumpmaster grabbed my static line and secured it to the floor.
"Tug the line to make sure it's secure".
I gave it a yank. Yeah, secure, sure. What the hell do I know?
"Okay. Reach out of the door, put your hand on left hand on the wing strut and your feet on the step above the wheel"
I rotate half out of the plane. don'tlookdowndon'tlookdowndon'tlookdown.
"Grab the strut with your other hand, stand up and step off"
don'tlookdowndon'tlookdowndon'tlookdown. I grab on stand up and…step…off…
Now I'm flapping alongside the plane at 80 or so miles an hour. My arms are wide apart and have the strut in a deathgrip.
"Look up and let go"
The proper body shape for an exiting skydiver is an X, arms and legs out, back arched. This position catches the wind and keeps the jumper from being flipped over. The "look up" instruction is for the diver to look at the dot painted on the bottom of the wing, thereby getting the back arched prior to departure.
I look up. And start an internal dialogue with myself.
"Okay Guap. On three, let go. One, Two,Three"
"You didn't let go"
"I know"
"Lets try again"
"One, two, three"
"You didn't let go again"
"I know"
"Why didn't you let go?"
"I don't know"
"Lets talk about this"
As I'm having this pleasant conversation, I feel something on my left hand. So I look over.
And this motherf****r is leaning out of the plane, peeling my fingers off, one by one.
And I think to myself that if my left hand lets go and my right one doesn't, I am well and truly screwed.
So I let go….


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If you've been paying attention, you'll know that BlackBerry (née RIM) unveiled its long-awaited BlackBerry Z10 and Q10 handsets today alongside the BlackBerry 10 operating system. Our full reviews of both the Z10 (which we were given as we left the press event) and the BlackBerry 10 OS themselves will be here in the next few days, but in the meantime we have one question: just how fast are these phones?
BlackBerry was coy about announcing official pricing ahead of the phones' actual US launch sometime in mid-March—$149 with a contract was suggested for the Canadian launch, and Verizon bumped that up to $199 with a two-year contract—but it's clear that the Z10 will be priced against premium phones from entrenched competitors rather than $100 midrange handsets or low-end, free-with-contract phones.
The problem with measuring how well a smartphone on a new or less-popular software platform performs is that most of our common benchmarking tools—things like Geekbench and GLBenchmark—simply aren't available for download. Luckily for us, we have in our possession an Android phone with tech specs very similar to the Z10: Samsung's Galaxy S III uses an identical dual-core 1.5GHz Qualcomm Snapdragon S4 SoC (part number MSM8960).
This allows us to do two things: use the S III as a rough stand-in when measuring the Z10's raw performance, and perform something akin to an apples-to-apples comparison between the BlackBerry 10 browser and Android's browser (and Google Chrome)—a definite priority, given how integral the browser is to the smartphone experience. We ran some quick tests on both phones to give you a preview of its performance ahead of the full review.
It's worth noting, however, that while the numbers will offer a good idea of the kind of raw performance you can expect from the Z10 in the best cases, the actual performance will be affected by the OS due to differences in drivers and power management between Android and BlackBerry 10.
Note that, for our purposes, we'll be discussing mostly the US version of the Z10—as sometimes happens, the international version of the phone will be shipping with an OMAP 4470 from Texas Instruments.
The Snapdragon S4 Plus revisited
The dual-core Snapdragon S4 Plus CPU cores (codenamed Krait) in both phones, as well as their accompanying Adreno 225 GPUs, have been eclipsed in performance by several chips at this point. These include Apple's A6 SoC family, Samsung's Exynos 5 Dual, and Qualcomm's own Snapdragon S4 Pro, the latter of which drives LG's Optimus G and Nexus 4, among others. It doesn't mean that the S4 Plus is slow—just that it's no longer cutting edge, and it will be even less cutting edge by March. Our first graphs will put it into context for you.
For these benchmarks, we tried to pick phones that represented a fairly wide variety of hardware—cutting-edge silicon, like that in the Nexus 4 and iPhone 5; squarely last-generation hardware such as the iPhone 4S and the Galaxy Nexus; and the Galaxy S III, which should fall right in the middle of the pack in most respects.
In the Geekbench CPU tests, this is largely true—it's slower than the Nexus 4 and iPhone 5 (and faster than the Galaxy Nexus and iPhone 4S) in most respects, with a few exceptions. The quad-core S4 Pro in the Nexus 4 obviously shares a memory controller in common with the S4 Plus (hence the identical numbers); otherwise the raw performance of the S III and the Z10 is good but not quite at the top of the pile.
The graphics story is a bit different. If you want a direct comparison of the GPUs' raw power, look at the Offscreen tests, which renders the same scene at 1080p resolution on all of the phones. If you want to know what kind of frame rates you can expect on the Z10's 1280×768 screen (to which the S III's 1280×720 screen is close enough to make the two comparable), look at the Onscreen numbers, which render the scenes at each phone's respective native resolution.
In all cases, the S III still falls right in the middle of the two other Android phones, but the iPhones benefit from Apple's emphasis on GPU performance over CPU performance in its platforms. The S III (and Z10) have enough raw power for most of today's mobile games, but they aren't pushing the performance envelope these days, and they have a bit less graphical power than other phones in the same price range.
Again, keep in mind that we're using the S III as a stand-in, and scores will vary slightly due to differences in the OS.
Browser performance
To our standard SunSpider and Google Octane tests, we've added Mozilla's heavyweight Kraken 1.1 benchmark. The Z10's browser holds the line against Chrome in SunSpider, but it falls further behind in all of the other tests—its Kraken speed, in particular, is more than 33 percent slower than either other browser. Both Chrome and the Android browser have had more time to evolve and optimize than has the BlackBerry 10 browser, but these charts don't paint a pretty picture.
How does this actually impact page loading speed, though? Each of the pages below were loaded once for purposes of either signing in or requesting the desktop site, and they were then loaded three more times; the results of the three tests were then averaged. We started the stopwatch when we entered the URL and stopped it when all of the page's elements were fully loaded—we also used a mix of desktop and mobile sites just to keep things interesting.
|BlackBerry 10 browser
|Galaxy S III (Browser)
|Galaxy S III (Chrome)
|Ars homepage (desktop)
|4.4 seconds
|3.7 seconds
|5.2 seconds
|New York Times homepage (desktop)
|5.5 seconds
|5.8 seconds
|5.0 seconds
|Gmail web client (mobile)
|4.0 seconds
|3.2 seconds
|2.2 seconds
Not cutting edge, but speed shouldn't be a problem
Our biggest concern with the BlackBerry Z10's performance isn't that it's bad, but that it's being sold against better-specced phones at roughly the same price point. Microsoft hasn't been able to move many Windows Phone 8 units despite packing the same kind of chips into $99 phones, and a $149 or $199 price (with contract) for the Z10 is only going to discourage new buyers. The Galaxy S III is in the same boat now, but it's a major phone with established software from a big player, and the odds are good that we'll learn something about its follow-up at Mobile World Congress next month.
That said, the Z10 uses hardware that's more than sufficient to give a good experience, and anyone who buys phones without really caring about the particular processor used inside shouldn't notice any deal-breaking performance problems. We'll be examining and discussing UI performance a bit more thoroughly in our Z10 and BlackBerry 10 reviews in the coming days—for now, the takeaway is that the phone's internals are generally up to snuff, but the handset seems just a bit pricey compared to its peers.
Listing image by Andrew Cunningham


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Musical preparation: Robert Jindra
Conductor: Jan Chalupecký
Stage director: Martin Čičvák
Sets: Tom Ciller
Costumes: Marija Havran
Chorus master: Martin Buchta
Dramaturgy: Ondřej Hučín
National Theatre Orchestra
National Theatre Chorus
Premiere: January 23, 2010
Così fan tutte is Mozart's final and most intimate Italian comic opera. Lorenzo da Ponte's libretto, replete with irony and extremely unflattering to (not only) women, was originally supposed to be set to music by Antonio Salieri, who renounced his intention in the very beginning. Mozart, however, amid Da Ponte's extremely chamber-like story came into his element. Using a mere six characters, at the turn of 1790 he created a work so inspired musically that it would become one of the apices of his oeuvre. The opera Così fan tutte (or Thus Do They All), with the subheading The School for Lovers, is a black comedy exploring human flightiness, defencelessness against one's own emotions, and the nature of love, which – fidelity or infidelity – is actually always absolutely "sincere". The Slovak-Czech stage director Martin Čičvák examines the timelessness of this "cruel joke" and in a symbolically circular space depicts a merry-go-round of amorous trifles.
The opera is staged in Italian original version and Czech and English surtitles are used in the performance.
Photo: Diana Zehetner
Approximate running time, including intermission: 3 hours, 10 minutes, one 20-minute intermission


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Gallery 105, American Art, first floor (Flammer Gallery)
Main Building
British-born architect B. Henry Latrobe is known to have designed furniture for the interiors of many of his commissions and, between 1808 and 1810, at least two painted furniture commissions-for the White House of Dolley and James Madison that was destroyed in the 1814 burning of Washington, D.C., and this one, which was made for the house of Philadelphia merchant William Waln and his wife Mary Wilcocks Waln.
A Philadelphia carpenter named Thomas Wetherill signed the reverse of the pier table mirror in a bold script, proudly laying claim to manufacturing at least that table. George Bridport, a London-trained draftsman and ornamental painter of walls and furniture, executed the ornamental wall decoration for the drawing room of the Waln's house and the painted decoration on this set of drawing room furniture. The technical quality of the decoration far exceeds that on painted furniture made in other American cities during this period.
Latrobe gave directions for the design of ornamental wall decoration in the Waln's drawing room: "friezes . . . more than two feet broad with Flaxman's Iliad or Odyssey in flat Etruscan color, giving only outline on a rich ground." A room corresponding to those dictates was created in 1987 for the Museum's exhibition Federal Philadelphia, 1785-1825: The Athens of the Western World.
Gallery 105, American Art, first floor (Flammer Gallery)
|Designed by Benjamin Henry Latrobe (American (born England), 1764–1820) Decorated by George Bridport (American (born England), 1783–1819) Made by John Aitken (American (born Scotland), c. 1760/65–1839)
|Tulip poplar, maple, gilded and painted decoration; iron, brass, replacement caning and upholstery
|33 1/2 inches × 24 3/4 inches × 8 feet 7 inches (85.1 × 62.9 × 261.6 cm) Seat: 14 inches × 6 feet 1 inches × 24 inches (35.6 × 185.4 × 61 cm)
|Credit Line:
|Purchased with the gift (by exchange) of Mrs. Alex Simpson, Jr., and A. Carson Simpson, and with funds contributed by Mr. and Mrs. Robert L. Raley and various donors, 1986
|Accession Number:
|Made in Philadelphia, Pennsylvania, United States, North and Central America
We are always open to learning more about our collections and updating the website. Does this record contain inaccurate information or language that you feel we should improve or change? Contact us here.
Please note that this particular artwork might not be on view when you visit. Don't worry—we have plenty of exhibitions for you to explore.


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One of the traditional strengths of Bitcoin, the peer-to-peer cryptocurrency, has been its decentralization. Because no one is in charge of the network, users place their trust in the security of the Bitcoin protocol rather than in any specific institution.
Yet decentralization also has costs. So far, the management of the flagship Bitcoin client has largely been a volunteer effort. There's no one to field media inquiries or represent the Bitcoin community with policymakers. A group of Bitcoin luminaries hopes to change that by forming the Bitcoin Foundation.
The new organization is modeled on the Linux Foundation, a non-profit that employs Linux creator Linus Torvalds and represents the Linux platform to the broader world. A letter from Peter Vessenes, executive director of the freshly minted Bitcoin Foundation, notes that lead Bitcoin developer Gavin Andresen, "maintains the software and manages the core team without any compensation—or day job—beyond the joy of Bitcoin programming." Raising enough money to pay him a salary will be one of the foundation's first tasks.
The foundation is seeking support from both individuals and corporations. Donations are to be made in Bitcoins. The foundation's board represents several Bitcoin businesses, including the leading Bitcoin exchange Mt.Gox. Mt.Gox has pledged to be the foundation's first "platinum" corporate sponsor, paying dues of 10,000 BTC ($120,000) per year. Two other Bitcoin businesses, BitInstant and CoinLab, have pledged to become corporate members and have seats on the board.
In addition to supporting the development of the Bitcoin software, Vassenes says the foundation will organize a Bitcoin conference in Silicon Valley in 2013 and will "publish a set of best practices for businesses transacting in Bitcoin, covering topics from accounting to physical and digital security."
The Bitcoin Foundation won't have any direct control over the Bitcoin network, which will continue to operate independent of any institution. But the foundation hopes to accelerate the network's growth by supporting both better software and broader public awareness.


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Lyndon Twin Platform Beds
Our solid wood beds are handcrafted in Vermont workshops with premium American hardwoods like cherry, maple, and walnut. Get better sleep and wake up every day knowing your bedroom furniture was made in America- the right way. These quality wooden bed frames are built using sustainably harvested wood and guaranteed for life. Save up to 25% on bedroom sets, on sale every day. Qualifying orders ship free.
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Vermont craftsmen use only the finest natural woods so you can sleep well knowing that your wooden bed frame is eco-friendly and made using premium American hardwood. 100% USA made in modern, Shaker, mission, craftsman & traditional designs. Lifetime guarantee.
Our solid wood bed frames are hand made to order, so you can customize them online, by phone or in our Vernon VT showroom. First, choose your favorite natural solid wood:
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Add extra space and organization to your bedroom with a storage bed! A clean, uncluttered bedroom with everything in it's place will leave you feeling happy and relaxed. Use the filter below to see which of our luxury, solid wood beds are available with underbed storage. We are always adding new styles and designs so check back often if you don't see exactly what you need. Better yet, give us a call. Your bedroom furniture will be made to order and we are happy to customize almost any bed to include storage.
Bedroom SetsMany customers who purchase a solid wood bed frame circle back around to us and eventually buy a couple nightstands, a dresser, perhaps a chest or blanket box and a mirror. We know it's a big investment but if at all possible, consider buying your bed as part of a matching bedroom set. You'll save 25%! That's because your craftsman creates efficiencies when building several matching pieces at once. Plus, there is a built-in savings on shipping when we make one delivery to your home rather than several. Just imagine your bedroom sanctuary all decked out in a full set of beautiful, natural solid wood furniture, handcrafted in Vermont. Check out our bedroom furniture sets here and give us a call with your questions or customizations.
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Expert Craftsmanship Creates Top Quality Bedroom Furniture
The craftspeople making your bed frame will use solid wood and a combination of old world construction and new world precision. We will build your bed with enduring quality-- as if it was going into our own bedroom.
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2017 Chevrolet Traverse LT AWD
*This calculator is for informational use only and is based on the information you provide. Actual loan amounts and payments will vary based on additional items such as taxes and fees as well as the actual interest rate available to you from a financial institution.
- Exterior
- Gray
- Interior
- Black Cloth
- Engine
- Transmission
- Automatic
- Drivetrain
- Awd
- Mileage
- 79,500
- City / Hwy
- 15 / 22
*Actual rating will vary with options, road conditions, and driving habits.
- Warranty
- Limited Warranty
- Stock
- Location
- A Better Way Wholesale Autos-CT
- Title
- Clear
Price includes warranty! For sale at A Better Way Wholesale Autos - 2021 DealerRater Consumer Satisfaction Award winner - Connecticut's highest volume independent auto dealer! We have the area's largest selection of pre-owned vehicles at the lowest prices available, over 700 in stock to choose from! Financing for all credit tiers and extended warranties available. Please contact our sales department for more information about this vehicle or the rest of our inventory. Call 203-720-5600, view our website www.abwautos.com, or visit our showroom in Naugatuck, CT. Open 7 days a week!
Standard Equipment
- Miscellaneous
- Satellite Radio
- Power Driver Seat
- Power Steering
- Tilt
- Tint
- Wood Inlays
- Heated Driver Seat
- Power Mirrors
- Rear A/C
- Rear Spoiler
- Rear Vents
- Third Seat
- Steering Radio Ctrls
- Child Safety Locks
- Daytime Running Lights
- Driver Lumbar
- Dual Heated Seats
- Luggage Rack
- CD Player
- Cruise
- Power Locks
- Power Windows
- Leather Steering Whl
- Anti-Lock Brakes
- Drivers Front Airbag
- Fog Lights
- Rear Defroster
- Rear Head Air Bag
- Side Airbags
- Side Head Air Bag
- Traction Control
- Variable Wipers
- Keyless Entry
- Mirror Turn Signals
- Rear Parking Aid
- Tire Pressure Monitoring
- Rear View Camera
- Dual Front Airbags
- 4-Wheel Disc Brakes
- Gasoline Fuel
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